Hello spiritt, I'm ThatOneMushroomGuy and I'll be the TA handling your critique today.

Arrows

Starting with your arrows you're drawing your marks with a great deal of confidence which helps solidify the feeling of fluidity that they have as they move through all three dimensions of the world. You're keeping foreshorting in mind while constructing your arrows which allows you to make really good use of perspective and the depth of your page, this gives a nice extra layer of tridimensionality to them.

Your usage of hatching helps you establish how your arrows twist and turn in space and further your own understanding of the tridimensional space these objects occupy, but do remember that your hatching lines must still follow the principles of ghosting and mark-making, they must have clear end and start points, be carefully planned and execute and not end at arbitrary points. As a finishing touch to your arrows don't forget to make use of added line weight on top of the overlaps to reinforce their depth.

You've done a good job on this exercise, what I'd like to tell you so you can keep getting the most out of this exercise is actually to encourage you to get out of your comfort zone more often the next time you tackle this exercise, try arrows with different kinds of twists and turns and different rates of foreshortening, keep in mind that arrows are very flexible objects and can move freely across the world in all sorts of manners, so you should push yourself and explore the different possibilities.

Leaves

The linework for your leaves is looking smooth which helps communicate their fluidity and sense of energy, but this is lessened by the fact that none of your leaf structures fold or bend in any way. Leaves are organic structures that are affected by all sorts of forces, from the wind to gravity to their own weight pulling them down, as such you'll find that in plant structures leaves will actually be oriented in a variety of different ways, and you'll improve much more by thinking about the way these objects look when they move through the world from moment to moment, instead of just trying to capture how they sit statically within it.

It's good to see that you've experimented with complex leaf structures but remember not to skip construction steps when approaching these more intricate structures.

Both of these structures are looser than they could be, because you did not put down a boundary. A boundary establishes how all of the later structures exist in space, despite complex structures being made up of several different parts, they still exist as a single entity, by not skipping construction steps you can ensure that your constructions are much more solid and specific.

When it comes to addition of edge detail to your work it is a bit mixed, this is partially because you're not always adding it to your plant constructions, and when you do you often do so by exclusively cutting back into your forms, ideally you should focus on drawing edge detail additively as much as possible as cutting back into the forms we've already drawn can cause us to focus too much on manipulating 2 dimensional shapes on a page, rather than the 3 dimensional edges they are meant to represent.

Edge detail greatly helps to communicate the form of your structures and how they move through space, but by not adding it they're left very simple, so make sure to add edge detail whenever possible, and remember that only the last step of leaf construction - texture - is optional.

Speaking of texture your usage of it is starting to steer in the right direction. But it can definitely be pushed further, as even though you're starting to think of cast shadows your marks still seem uncertain and there are several big spaces of white in your structures which works against the veiny texture you're trying to communicate.

There's much more going on than just a few stray marks implying veins and we can do much more to accurately communicate this type of texture, take a look at this informal demo on how to approach leaf texture, and make sure to give these reminders on how texture works in Drawabox a read.

Branches

Moving on to your branches they are coming along really decently made as you're following the instructions for the exercise, you're drawing your edges in segments which allows you to maintain higher control over your marks which allows you to create some solid but still organic looking structures.

There are a lot of visible tails present in these branch structures, while this is a very common mistake we can attempt to mitigate it by limiting the amount of ellipses in our branches, by spacing them further apart we'll allow for a bigger length of runway between ellipses, and ensure a smoother, more seamless transition between marks.

For ellipses it's good to see that you're making an attempt to always draw through them twice, as that allows for a smoother mark overall. It's good to see that you're aware of the ellipse degree shift and making use of it in your constructions, which helps these structures feel more solid and believably tridimensional.

Plant Construction Section

And lastly let's take a look at your plant constructions, which are coming along decently made, you're usually making use of the construction methods and techniques introduced in this Lesson which helps you create the illusion of tridimensionality in your work, you're starting to understand the purpose of these techniques and using them to further your own sense of spatial reasoning.

However there are a couple of kinks to iron out, so here are some of the points that should be addressed whenever you tackle these exercises again, as it will help you keep improving your skills.

First things first I did notice that for these pages you had a tendency to choose more complex plant structures with lots of elements to them and you always did two constructions, one on each side of the page, as if you put an invisible line in the middle of it.

While this is not necessarily a mistake in this case it ended up limiting your ability to apply these methods and techniques to their full extent and become fully acquaintanced with the construction techniques and methods, choosing some less leafy and more simple structures would have allowed you to focus more on applying the construction techniques and methods to your structures, rather than trying to juggle several elements at once, or you should have gone for quality over quantity, and drawn these constructions much, much bigger.

This issue of not drawing big enough has actually impacted your work negatively, since you ended up deviating from the instructions at points. While this is something that you generally respect I've noticed that in here, here and here you've skipped construction steps by not starting your branches around a minor axis.

Always keep in mind that the construction methods and techniques introduced in this course must always be applied to your work, as they're tools which will help you construct much tighter and solid looking structures. They're not guidelines or suggestions - they are rules.

When approaching cylindrical structures such as plant pots make sure to start with a minor axis in order to keep your several ellipses aligned to each other more easily. Going further don't forget to construct the outer rim that's present in most types of plant pots, and make sure to add a ground plane to your structures, this line is necessary when constructing plant pots because otherwise your structure will look like it's floating in mind air, which breaks the illusion of the construction.

Final Thoughts

In general you're applying the concepts taught in this lesson. Your constructions are looking solid and tridimensional. I'm going to be marking this lesson as complete as I believe you're ready to tackle the challenges present in the next lesson, just don't forget to keep the points I've mentioned here in mind and apply it to your work. Good luck in Lesson 4.